Genderswap Fan Art by Sakimi Chan
pls all of these
Omg the San/Ashitaka and Howl/Sophie ones
Via Rebel Dog In The Spotlight
Playing video games while someone else’s watching
Rainbow Road in Mario Kart 64 (1996) and in Mario Kart 8 (2014)
Via Even darkness must pass.
I enjoy talking to you. Your mind appeals to me.– George Orwell, 1984 (via thisnostalgicheart)
(Source: larmoyante)Via Salt
I don’t like how the house creaks when you’re not here.
I don’t like how quiet my room is when you’re not here.
I don’t like how loud my thoughts are when you’re not here.
I don’t like how small my bed feels when you’re not here.
I don’t like it.
I don’t like it when you’re not here.
We Can’t Get Out Of The Bedroom Now.
Shirley Maclaine on Parkinson in 1975
Via i am kissed by fire.
The sun is a little overwhelming this morning. Really feels like spring is on the way.
Coldplay makes every situation seem much more introspective. Including eating tacos alone at Taco Bueno.
Andrew Putter: Native Work (Capetown, South Africa)
This new installation comprises 21 black-and-white photographs of contemporary black Capetonians, in ‘tribal’ or ‘traditional’ costume in the genre of the iconic ethnographic photographer Alfred Martin Duggan-Cronin. These are displayed in a grid alongside the same subjects photographed in colour, where the sitters chose what they wished to wear based on how they see themselves.
'Cognizant of the dangers inherent in Duggan-Cronin's colonial, ethnographic approach to making images, Native Work nevertheless recognises an impulse of tenderness running through his project,’ writes Putter in an article about his project published recently in the journal Kronos: Southern African Histories. ’By trusting this impulse in Duggan-Cronin’s photographs, Native Work attempts to provoke another way of reading these images, and to use them in the making of new work motivated by the desire for social solidarity, a desire which emerges as a particular kind of historical possibility in the aftermath of apartheid.’
By exploring his own complex feelings towards an ideologically tainted but aesthetically compelling visual archive, Putter enters the fraught terrain of ethnographic representation to wrestle with himself about his own complicity, as an artist and a white South African, in this troubled visual legacy. Art critic Alex Dodd writes that this new work ‘constitutes one of those rare instances in which it becomes unmistakably clear to the viewer that the primacy of authorial intention has everything to do with the subtle alchemy that determines the meaning and affective power of images. In this case, the immense respect and tenderness that went into the making of the photographs registers visually as a kind of auratic quality of dignity that shines through each and every portrait.’